The doors of the cabinet, as mentioned in the first installment of this series, are built from 1x3s and 1/4″ plywood to give a usable depth of 2″. This depth creates more room and more options for storage than in a flat door.

The photos, above and below, show the saw storage system. A 1/4″ plywood panel is secured to the door stiles with wood cleats and screws to create a pocket approximately one inch wide (front to back). This pocket is divided into specifically sized sections for the saws using narrow wood strips that are held in place only with screws that go through the panel (not through the front face of the door).

This system works to hold Japanese saws, using a hooks and eyes, as well as Western backsaws which are simply inserted point down into their slots. Even the big Disston D-7 has a home, using a fitted cleat for the handle which can be seen in photos in the previous two posts.

The outer faces of these panels have space for many other tools including squares in their own notches, blocks that hold gimlets and marking tools, and small rules held with magnets.

Everything finds its protected place and there is no need to use annoying saw guards and tool sheaths. Each tool can be removed and returned without moving any other tools. (The fret saw is the sole exception.) Furthermore, the arrangements can be changed, and they have been, many times, as you can tell by the holes.

The photo, below, shows the lower section of the right-side door. The 18″ Starrett bevel-edge straightedge is held in place by a rare-earth magnet. Near its upper left corner, a shallow hole drilled into the stile allows a finger to get under the tool’s corner to lift it out. Three paring chisels sit in their fitted block. A Warrington-style hammer has its own fitted parking spot. An azebiki and a flush cut saw have their pockets.

The main idea is to be creative and flexible in making spaces for the tools. Over the years, I’ve added, discarded, and especially upgraded various tools. While I do less of this now, it does continue, and so the tool cabinet is repeatedly modified. By the way, I have only tools that I use to make things; I’m not interested in collecting tools.

Next: a look at the shelf arrangements.

In small-shop woodworking, space management is important, unless you happen to have just too darn much shop space and don’t know what to do with all of it. Anybody? I guess not. OK, then, let’s look at space economy and overall organization in this tool cabinet.

A structure of this size effectively creates walls that can be put to use. On the left outside “wall” of the cabinet, hang four pairs of pinch rods, a pair of 30″ winding sticks, and a 4-foot stick for trammel points. The right side (hidden from view) provides storage for a crosscut handsaw, a 50″ straightedge, and a 24″ level. The left door front holds a couple of handy reference charts and the Lee Valley Wood Movement Reference Guide.

The insides of the doors hold mostly saws because they are big, flat, and would be awkward to store on shelves. Paring chisels are too long for the depth of the case so they get an area on the lower right door. Most of the remaining door space is used for measuring and marking tools that I use very often such as marking knives, everyday squares, rules and pencils, as well as sundry items whose berth evolved there.

The holders for these tools will be discussed later, but here I emphasize that the layout often changes. If a new or upgraded tool comes into the family, I have no qualms about drilling some new holes, making a new structure, or cutting out a place for it. I don’t mind one bit that the doors are pockmarked with some tool history.

More detail will come in later posts, but here is the basic layout of the case:

• The top shelf holds chisels and screwdrivers.
• The second shelf has small planes, scrapers, gauges, and spokeshaves.
• The six drawers: 1) metal working tools, 2) Starrett and other precision tools, 3) drilling accessories, 4) small planes, plane irons, gauges, 5) rasps, 6) machine accessories, wrenches.
• The next shelf down has the large planes. One minor disadvantage of this cabinet is having to remove two jack planes to reach the jointer in the back.
• The lower two shelves hold a 30-drawer small parts chest and a variety of other items including more drill bits, tapes, moisture meters, tool manuals, and a set of carving tools that I should use more often.

The key points are space economy, flexibility, accessibility, a generally logical layout, and a non-pretty, very practical approach.

Next: a closer look at the doors and the saw berths.

When I built this tool cabinet 25 years ago, I did not expect it to last this long. You know how it is: “I’ll just build something plain and practical now and make something nicer sometime later.” It was a time of stress and joy with a new family in a new house, and, of course, a new shop. My previous systems of tool storage using chests, shelves, cabinets, and even a closet, needed an upgrade and I wanted to make it quickly.

Well, “sometime later” has come and gone, and this old dog is still doing its job well. It is not perfect (what is?) but I feel no need to build a new one. In this series of posts (not necessarily contiguous), I will discuss the construction and features of the cabinet and why it works for me. Though a few readers may want to make one just like it, more likely this discussion will be a source for ideas to incorporate into your own designs for tool storage. I used ideas, many from sources I’ve long forgotten, plus some of my own, for this cabinet, for which I make no pretense of originality.

The overall design – a cabinet with two large, deep doors, standing on a low frame – allows a wide-open presentation of my hand tools. When I open those doors, it’s time to work. The great majority of tools can be reached directly, with little or no bending, and without shifting other tools out of the way. Being right-handed, I placed the cabinet immediately to the right of the workbench, giving me quick physical and mental access to the tools. In a small footprint of about 4 feet by 14 inches, a remarkable quantity of tools is stored.

There are many good ways to store hand tools. Everyone is entitled to his preference, but personally, I do not care for dandified tool wall cabinets or dovetailed chests that sit on the floor.

Here we go. The overall dimensions are 48″ high by 37″ wide by 14″ deep. The inside of the cabinet case has a depth of 11 1/4″. It contains three adjustable shelves and an 11″ high drawer bank with six drawers. Four drawers have inside depths of 2 ½”, and two have 3 ½”. The doors have an inside usable depth of 2″. The stand elevates the cabinet 16 ½” off the ground. The back panel extends 2 1/4″ above the surface of the top which has 7/8″ high guard rails on each side. If I was to do it over, I’d probably make the case an inch or two deeper, but this one is doing just fine.

The case is decent quality 3/4″ poplar 7-ply, butt-jointed, glued, and screwed. The rabbeted 1/4″ plywood back and the three-piece drawer bank frame make the case plenty resistant to racking, though it would be better to rabbet the case corners.

The doors are 1×3 poplar assembled with simple glued and screwed butt joints. Each door is nonetheless very sturdy because the 1/4″ plywood panel is glued in grooves all around, and there are several frame structures on the interior. The doors are joined to the case with piano hinges.

The stand is constructed of notched and screwed 2x4s and contains a shelf for storing jigs and templates. The cabinet is actually standing on the bottom edges of its sides which extend ½” below the bottom. The stiles of the stand extend 1/4″ above the rails to help position the cabinet.

Next: we’ll look at space management, starting with the outside surfaces of the cabinet, and then the overall organization inside.

This installment includes questions from readers about the Shelix cutterhead, choosing a plane for shooting, and building a set of tools and skills. Also, several readers have noticed and asked about the tool cabinet in my shop.

The Shelix for the planer is the better option for almost all shops. Here’s why. The main purpose of the jointer is to produce a flat surface and an edge square to it. It does not really need to produce very good surface quality on the face of the board. The jointed face, even if it has tearout and missed areas, will register on the planer bed as the Shelix makes opposite face flat and parallel with excellent surface quality. Once that is done, the board is flipped over and the jointed face is cleaned up with the Shelix.

Tearout is rarely a significant problem when jointing the edge of the board. Even if there are some defects, they should disappear when the edge is handplaned, such as for an edge joint. Jointer defects can also be ripped away on the table saw after you have ripped the second edge parallel.

A segmented cutterhead is not a bad idea for a jointer, but the point is that it is far more valuable on a thickness planer.

By the way, hand planing to flatten the first face of a board too wide for your jointer is not so hard once it is realized that you do not need a perfect surface. You just need a hit-or-miss surface, however ugly, that registers on the planer bed without rocking. Then do the flip procedure as described above.

A LA #5 would work very well and I think would be the best choice of the planes you have. For a plane for shooting, you want a lot of concentrated mass and a thick bevel-up blade which is supported close to its cutting edge. A #7 BU plane has more mass but may get a bit awkward on a shooting board of that size. A 6″ block plane is too small and light. Even the #4 is too light.

A dedicated heavy miter plane is the best choice if you can afford it, such as the Lie-Nielsen #9, which I use with the “hot dog” handle, or the new beast #51. However, even a bevel-down jack or jointer can be used successfully. Most important, use a very sharp blade. Add shooting to your repertoire and watch your capabilities grow.

A woodworker building his set of tools and skills asks: I’d like to add a new tool to my small collection of chisels, saw, marking gauge, and squares. You suggest buying a jack plane first but I already own a #5 and a small power thickness planer. Should I buy a second plane or a pair of rip and crosscut saws. Also, can you recommend a book for learning the basics of woodworking?

Because the jack plane is so versatile, I suggest that you not buy another plane for your next tool. More planes can come later. Instead, you would probably benefit most from buying saws for joinery. If your next project is a table, using mortise and tenon joinery, get a ripcut tenon saw for the cheeks and a crosscut carcase saw for the shoulders. If your next project is a box, get a ripcut dovetail saw to cut the dovetails and a coping saw to remove most of the waste.
Of course, you will need saws to prepare the stock. You will also need gauges, chisels, and so forth. Do not try to accumulate all the tools at once. It is better to choose a type of project that you would like to build now – stick and board construction such as tables, or case construction such as boxes or chests – and get the tools for that. In time, you will acquire more tools. Buy the best you can afford. It can be very frustrating to outgrow cheaper tools as your skills improve. It is much better to have fewer excellent tools than lots of cheap tools.

Start with manageable projects. A small, simply designed project that is well executed will be more satisfying and more instructive than getting overwhelmed with a project that gets out of control.

I suggest Peter Korn’s book, Woodworking Basics, as a very good place to start.

Regarding my tool cabinet, I will soon post about that. I’ve been using it for 25 years, and, though there are a few things about the dimensions that I would make different, the basic design has served me well.

Dear readers, I thank you for reading and for your questions. May 2012 bring you many happy hours in the shop!

Rob

Steve Jobs understood, and was able to bring to fruition, not merely the intersection of technology and design, but that they are inseparable aspects of a desirable product. High tech devices are, after all, valuable only if humans can interact with them, and it is via design that we do so. The inviting look and feel of Apple products draw us to them. So often, while we see other brands in the store, we readily sense that we want an Apple – leaving aside whether we can afford it.

Jobs recounted that a course in calligraphy that he took years before he began designing computers was a great influence in developing his appreciation for the importance of nuance and subtlety in comprising an overall style and look. In that art, the smallest details of spacing and line weight, for example, matter decisively in creating the whole image.

Phones, laptops, and other electronic devices are all basically the same shape, but the details of an Apple product add up to produce an unmistakable attractiveness. When you know the underlying functional quality is also there, the product is a real winner.

So what does this have to do with woodworking? Well, looking at a Maloof chair or a Krenov cabinet, I think the question is answered. These masters made things that invite our interaction, are the ultimate in refinement of style, conveyed largely with judicious details, and, of course, embody honest quality. When seeing their work, all this adds up to evoke that wonderful “ahhh.” It is the masterful execution of inspired intent. So intimately human, so wonderfully functional, the piece calls to us, and we reach out to it.

This is what we strive for as we take our best shot at making fine things. In Krenov’s words, a “quiet joy.” 

One of the enjoyable upsides of writing this blog and contributing articles for several magazines has been receiving emails from fellow woodworkers around the world with questions about everything from shop setup to furniture design. While I am honored to receive these inquiries, it has become time consuming to answer them with individual emails, and it would probably be helpful to share some of this information with more readers. So from time to time, I will answer some questions in a “mailbag” post on the blog.

I invite your questions. Unless you request otherwise, your name and email address will be kept private. Please put “woodworking question,” or something similar, in the subject line of the email.

I’ll only answer a question if I think I know what the heck I’m talking about, based on the “sawdust and shavings of my shop,” and, of course, I can offer just one person’s viewpoint. I hope readers will also enter comments with their own take on the topic. The goal is to be usefully informative. The many internet forums contain tons of information and this is simply a small addition to that.

Topics include: wood, joinery, the selection, use, and preparation of tools, shop setup, and furniture construction. Haha, don’t ask me about turning, relationships, or finance because I don’t own a lathe and you could end up lonely and bankrupt.

Examples:

• A technique or tool that you’re struggling with: How much camber should there be in a smoothing plane blade?
• How to: What steps do you use to cut tenons by hand?
• An opinion: Do you like Japanese or Western bench chisels, and why?
• A construction question: Which joint would you suggest for . . .?

As always, thanks for reading, and happy woodworking!

Rob

A key question for any woodworker acquiring a basic set of tools is which handplane to buy first. As with all tool questions, the answer depends on the type of work you will do and your available money. Furthermore, these issues always involve a large dose of opinion because there are multiple ways to get jobs done in woodworking. 

For general furniture making, I suggest first get a jack plane. If you have a lot of money and can make a strong commitment to woodworking, go ahead and get a top quality set of these six planes: smoothing, jack, jointer, block, shoulder, and miter. For such a set of Lie-Nielsens, the cost would approach $2000 and, though surely worth it for an avid woodworker, is hardly a likely leap for a novice. Yet, you must start somewhere, and an incremental acquisition of tools, with adjustments based on the work you decide to do, is a reasonable path.

A jack plane is an excellent tool for stock preparation and can perform well, though admittedly not ideal, for smoothing, jointing, and shooting. As an only plane, a smoother would be deficient in truing work, and it would be very awkward to use a jointer for finish smoothing. Later, when you get the full set of planes, the jack will still be very useful. I originally used my Record jack for all those tasks and gradually got more planes. With a full complement of planes, I still use it more than any of the others and I also have a bevel-up jack.

The options are: buy a new Lie-Nielsen or other high quality plane, fix up a high quality vintage plane, fix up a mediocre new or old plane, or make your own wooden plane. With the exception of the first option or two, it is best to get a good aftermarket blade such as a Hock. The edge durability of A2 steel makes it a good choice for a jack. Keep in mind that the potential of a fixer upper will be limited by its inherent qualities such as the frog design, weight of the casting, and the adjustment mechanisms. 

Bevel-down and bevel-up both work. For either, it is helpful to have one or two extra blades sharpened to different angles and cambers to accommodate different work. You can shoot with a BD plane (I did for years) though for this a BU design has the advantage of a heavy blade that is supported very close to its cutting edge. A BU plane makes it easy to change to a blade sharpened to a higher angle for figured woods, but a back bevel can similarly be used on a spare blade for a BD plane. I find BU blades harder to sharpen, primarily because of the wear created in use on the flat side of the blade. To choose for an only plane, I’d go with the BD, but this is my bias. The bigger issues are quality, tool preparation, and skill.

Please don’t buy a block plane as your first plane, as is often recommended! While useful, it is far more limited than the jack. It is a one-handed tool used mostly for chamfering and small trimming work that can often be done with a sanding block. You cannot prepare stock with it, true surfaces and edges, or use it as a smoother. Step up to the big leagues right from the start and get the jack.

Even woodworkers who do almost all machine work will benefit from a jack plane. For most hand-machine blended woodworking, you could do quite well with a jack plane to joint the faces and edges of boards and a portable thickness planer to get the brute work done. Add saws, chisels, marking tools, clamps, sharpening equipment, and, of course, a workbench and you’re in business. Get a bandsaw soon.

Go make something – anything – and enjoy it!

I was browsing in a Woodcraft store a while ago and saw some blank knife blades to which only a wooden handle needed to be attached to produce a nice knife. I am not a knife maker but I certainly like tools, including knives, and figured this would be an easy diversion for me, an experienced woodworker, while more profound projects ruminated in my head. Ha! Yeah, right.

I bought two. I was thinking vaguely, without fully admitting to myself, that one was to screw up and learn on, while the second had a shot at turning out OK. Really, it was not a difficult project, but even such a seemingly straightforward job as this harbored glitches that, lacking specific experience, I was unlikely to anticipate.

How was I to know that the quick-set epoxy would make an ugly thick glue line, or that blending the handle near the heel of the blade would be tricky? Even though I’ve handled knives for many years, decisions for the figure, weight, thickness, and contours of the handle were confusing. I also was not accustomed to seeing sparks fly off the drum sander along with the usual wood dust.

In short, after irretrievably messing up my first attempt, the next try resulted in a decent handle. The process still felt awkward, and I know there is plenty of room for improvement.

So, while not wholly unfamiliar, this was new territory for me. The experience reminded me how damn difficult it is to make things, especially to make them come out the way you really want them to come out. It’s not quick, easy, or perfect every time.

To students of woodworking, and that means all of us, I suggest we ignore the popular trend of hawking this or that technique as easy-peasy, quick as a flash, or (ugh) “perfect every time.” Woodworking is none of those. Sure, you and I can and will learn new skills and do excellent work, but it’s really not easy.

So, ignore the hype and keep making sawdust. Happy woodworking!